The Palace Of Typographic Masonry

"The Palace of Typographic Masonry is dedicated to the splendour and diversity of the graphic languages. Founded by Dutch graphic designer Richard Niessen, this imaginary building serves as a speculative platform for the variety, poetry and digressions of graphic design. The Palace presents the craft in an interdisciplinary cultural historical context and posits a new theory for the profession. Join us on a tour that takes you past more than 360 Palace 'exhibits'. A progress through nine stages: the departments of Sign, Symbol and Ornament; Construction, Poetics and Play; Order, Craft and Practice. Philosopher and writer Dirk van Weelden will serve you as your guide, offering his reflections on the items on display and introducing you to the people we meet when we enter a room"--Publisher's website.

Le graphiste Richard Niessen aime les affiches typographiques. Il aime les manipuler, plutôt que les voir accrochées au mur. Pouvoir les poser au sol, les superposer et les découper. Pouvoir les tourner dans tous les sens comme une carte routière ou un plateau de jeu. C'est son format d'expression privilégié. Pour lui, le livre ne serait d'ailleurs rien d'autre qu'une compilation d'affiches. Les vingt-six sérigraphies présentées dans le Compendium hermétique de typographie maçonnique sont exposées pour la première fois dans le cadre de la Saison Graphique 2014 du Havre. Elles doivent être considérées à la fois comme des spécimens de caractères et autant de brèches prévues pour mieux s'immiscer dans l'univers de Richard Niessen. Tony Côme a écrit la préface de ce Compendium - résumé, synthèse non exhaustive d'un art. Des liens se tissent entre chaque spécimen, un réseau prend forme et l'on devine en pointillés les contours de trois constellations : le Signe, le Symbole et l'Ornement. Ici se situe l'inépuisable terrain d'expérimentation de Richard Niessen, son aire de jeu à géométrie variable. Bienvenue dans la citadelle hermétique !

Eric Gill's opinionated manifesto on typography argues that 'a good piece of lettering is as beautiful a thing to see as any sculpture or painted picture'. This essay explores the place of typography in culture and is also a moral treatise celebrating the role of craftsmanship in an industrial age. Gill, a sculptor, engraver, printmaker and creator of many classic typefaces that can be seen around us today, fused art, history and polemic in a visionary work which has been hugely influential on modern graphic design. 'Written with clarity, humility and a touch of humour . . . timeless and absorbing' Paul Rand, The New York Times 'His lettering was clear, confident and hugely influential on the development of modern type design. The world has now caught up with Gill' Guardian How do we see the world around us? This is one of a number of pivotal works by creative thinkers like John Berger and Susan Sontag whose writings on art, design and the media have changed our vision for ever.

In the early 1960s Italian design legend Bruno Munari published his visual case studies on shapes: Circle, Square, and, a decade later, Triangle. Using examples from ancient Greece and Egypt, as well as works by Buckminster Fuller, Le Corbusier, and Alvar Aalto, Munari invests the three shapes with specific qualities: the circle relates to the divine, the square signifies safety and enclosure, and the triangle provides a key connective form for designers. One of the great designers of the twentieth century, Munari contributed to the fields of painting, sculpture, design, and photography while teaching throughout his seventy-year career. After World War II he began to focus on book design, creating children's books known for their simplicity and playfulness.

Working with type and image and the integration of these two elements to create persuasive and effective design pieces are the foundations of good graphic design. Yet, very little practical information exists for these tasks. This book changes all it. It gives designers the practical know-how to combine type and image for dynamic effect as well as to use them in contrast to create tension and meaning in design. Creating strong layouts is the most important as well as the most challenging of any project. This book inspires through excellence by exhibiting great design work then deconstructing the processes in simple visual terms. Type, Image, Message: Merging Pictures and Ideas looks at this respected art form while providing practical information that can be used by any designer wishing to hone the skills needed to merge type with images in an inspired manner.

Discusses the elements of a sign, and looks at pictograms, alphabets, calligraphy, monograms, text type, numerical signs, symbols, and trademarks.

Over the past 30 years the writings of Georges Bataille have had a profound influence on French intellectual thought, informing the work of Foucault, Derrida, and Barthes, among others. Against Architecture offers the first serious interpretation of this challenging thinker, spelling out the profoundly original and radical nature of Bataille's work.